geoff shotz

marc- i was over at bexel rumbling around through their used gear and they had a bunch. give them a call: 800-842-5111.

phil- feel free to add your replies. they add a bit of misinformed, demented, bitter and sad comedy to our day. they do set us off a bit, too. kinda fun in itself. since you don't know, phil, i'll clarify even further. there is a sidebar agreement already in place with our union contract (since 1998, someone correct me if i'm wrong) that allows a production to petition the union during preproduction and request the removal of the mandatory operator staffing position. the option is there already on a case by case basis. what is occurring now is the removal of the position altogether. it isn't about forcing anyone to do anything. it isn't about forcing the producers to pay money that they don't have. it's an attempt to remove many positions on set altogether, with operators being the first in line. the unanimous decision to unite against this removal, by one of the most divided groups around, should be an indicator of how bad an idea this is. as for your state of affairs, i don't think all the folks in the u.k. working away making movies big and small agree with you at all. there are plenty of people making good livings doing great projects over there. you just don't happen to be one of them. maybe things are a little slimmer, but i'm guessing your depressed, bitter, and overly negative personality get in the way of you attaining the knowledge of what that work will be like. you might want to just lighten up a little and enjoy for a change. geoff

oh, i'll do it. phil, you really don't know what you're talking about here. the money is there. i guarantee you that the produceers have it. and when they really, honestly, truly, actually don't, the union has all kinds of side contracts to make almost all film and t.v. show budgets doable. any one of us has the option to work or not to work at those other, lower rates. the price the producers pay an operator over the course of a project is small in comparison to the time wasted while the d.p. tries to wear too many hats. there are a few d.p.'s who do great work without an operator. most projects won't go better without one. producers don't see that though. all they see is the line cost of an operator. it is true that there are projects where operators sit and do nothing. sadly. it's no fun to be that operator. i've been there, it sucks, and i won't do it again. it's hard to find an operator who wants to do that. as for the union, it is a protection for us, the individuals. it doesn't find us work, it doesn't finance our equipment, it doesn't pick our projects for us. we, individually do that. but the union does set basic guidlines for rates, payment schedules, health coverage, and fair/unfair work practices. i won't try to discuss the situation in the u.k., because i don't know the facts. you might very well be working regularly and living a better life if you had been able to keep your unions. here in hollywood, we know that the quality of our projects, our business, our lives, and yes, our finances will suffer if this change occurs. it is merely the tip of the iceberg in the decline of our business. phil, you might want to consider even with all the runaway production, the tax incentives, the unions, and all the other issues there are still an awful lot of producers and projects that willingly want to be made here. there is a reason why. geoff

"there's nothing like the smell of napalm in the morning." eric, just don't spill their scotch, we'lll be thirsty after the swim in. geoff

do you think we sound like a bunch of spoiled kids in a toy store? seems like we play harder than we work sometimes. oh well, the truth always hurts. as for the lessons, anytime is my answer. as long as there is wind. the best place to actually get in the water and learn is belmont, right in front of jims' house and just down the street from limericks(killer irish pub). once it gets windy i'll teach anyone who wants how to fly the kites on a local beach and then we'll get to the water when you are ready. as kelsey knows, once you learn to fly the kite, the water is easy. and b.j., yeah i can snowboard and snowkiting is on the menu this season. my a.c. is really wanting to try that too. come windy season, let's do it. geoff p.s. so you all know, anthony is talking about outrigger canoes. which, you can also rip on with a kite pulling you. think about the possibilities for stupidity there. and anthony, i'm sticking with the hurricane i think.

hey guys- i have to work on the day of the meeting, but i want to make my voice heard. does anyone have an e-mail address for tom short? it wouldn't hurt us to deluge him with our dissent. if anyone knows how or where to find his address, let us all know. thanks. geoff

let's address this in an orderly fashion. b.j.- talk is cheap. and once you are actually try it you'll have no attention span for anything else. jim- that is why there is always a cooler in my truck. anyways we can always go down to that irish pub in naples afterwards and have those mondo burgers and a beautiful pint of guinness. kelsey- beautiful up there, but damn that water is cold. i actually just switched over to the crossbow too. i love it. i was riding in the surf in maui with it in november and couldn't believe how it handled the gusts and the hangtime you can get with it is unreal. i'm not the biggest ripper or jumper, but even i was getting 20-25' of air with that kite off the waves. stop drooling b.j.. the season starts in february and right in front of jim's house is the best beginners spot in l.a.. that means that jim and b.j. have been put on alert. as for kelsey, the carribean sounds great, but the wind is much more consistent in maui. anyways i was in cuba in '95 and you'll be so busy enjoying the food, the people, the rum, the beaches that you'll never ride. it's fantastic if you are allowed to go. damn embargo. if you want a feb. destination, call the folks at real kiteboarding and book a week with them down in cozumel. they are supercool and you'll learn a ton riding with them. let it blow. geoff

alright ya'll- since we seem to be into trying group activities, i'll throw this out there too. do any of you kiteboard or windsurf? i'd love to have someone to ride with once the wind picks up (in about a month). aside from b.j. who keeps pretending he's gonna try to learn to kite, anyone game? maybe a baja surf/kite/offroad spectacular for my next hiatus? anyone? anyone? geoff p.s.- the good thing in mexico is, we don't have to eat each other in case of emergency. it's easier to buy someones kid.

same for me, i'm in. i just hope work won't call whatever week we decide. geoff

thank you all for the interest, but the preston has been sold.

the moduli have been sold but i still have: 2x 12v fischer power cables 2x pro/ultimate power cables

jamie- i had a similar situation on a low budget feature several years back. it was one of those features that promises to have a moviecam sl and when you show up it's a bl4(not kidding). i had a shoot em up chase scene down several flights of stairs that was just wrong on so many levels. so i had the same discussion that you had about quality and safety and provided an option that worked well. my staircase was a switchback style that had large landings. on some i would start a level down from the actors and converge on them. i would run up the last few stairs to the landing where we would meet and i would hinge them around and follow them back down a little ways, letting them fall away. on some i would let my full tilt running actors just grow on me around a corner as i did my best to back down half a set or so of stairs. i too keep one hand on the rail at all times and i never do dj, so it is backwards or nothing. on the last flight they overtook me and i hinged them around and descended on them into a lockoff. it was very dynamic and way bettter than the original idea of lead/follow/shoot feet. this only was possible because i was able to convince the dp and dir that the dynamic of the stairs would play better this way and quietly point out how it might cut...all without stepping on anyones toes. that is the really hard part. when i saw the final cut, they looked like they went down 2 flights of stairs. short chase scene, but it's still on my reel. i think you played the situation really well. in the end, that's what will get you the call back because it's what allowed you to do the job to everyones' satisfaction. geoff

beaten to the starting gate. to all, a merry christmas/ happy chanukah (i live a dual life) and may this new year bring each of you all the health, wealth, success, and happiness that life has to offer. may i be the first to offer a toast to the new year...cheers. geoff

after having two seperate people agree to purchase my preston and not come through with the money, i am again offering this unit for sale. here is what i have. 3 channel uhf preston with 2 motors for sale this unit includes: -handunit -mdr-1 -microforce (analog) -2x uhf transmitters -2x dm-1 motors -2x motor cables -12/24v converter -transmitter to handset bracket -microforce bracket -pro steadicam bracket -charger -5x lens marking discs -neckstrap -homemade aluminum bracket for your steadicam stand to keep the unit secure and safe cables: -2x panavision run/stop (1x right angle) -2x arri 535/435/arricam r/s (1x r.a.) -2x aaton r/s -1x arri 12 volt r/s (r.a.) -2x handunit/transmitter cables -1x microforce/handunit cable -1x 25' hardwire cable also includes a pelican case and anything else i can find in the garage this preston has been ultra reliable, has all the latest software and was recently inspected at preston. asking price is: $11,000 if you have any questions please e-mail me or call 310/ 880 2233-c. thanks geoff shotz

2x modulus 3000 for sale 1) less than a year old, low hours, almost perfect cosmetically, great shape included are original case, attenuators, channel and wiring card, antenna, and one cable of your choice from the list below price $1800.00 2) several years old but still in great shape, slightly more wear and more hours on this unit, serviced top to bottom last year, new voltage regulator installed, new switch, solders and boards all checked included are original case, attenuators, channel and wiring card, antenna, and one cable of your choice from the list below price $1650.00 cables: 4x PRO/Ultimate sled to modulus cables (power and video) 2x 12v fischer to modulus cables (power only) 1x 24v 3-pin Arri to modulus cable (power only) the cables are for sale individually, also. call me at 310/ 880 2233- cell. or e-mail me. thanks geoff

thanks mr. landau. i don't feel as quick as i used too, but age has made me smarter about when to run and when to ride. this time there was no choice. let's just put it in perspective, jason lee is 6'2" and all leg- i have no problem with him. that kid cameron, though, he was unbelievably quick. he ran down the stairs, made the corner at about 50% speed and did nothing but accelerate as we hit the pavement and the grass. and what you guys can't see in that picture is the beginning of the scene where cameron's one legged girlfriend is hopping after earl, only to have cameron bolt out to protect her. every day something wackier. today was ostriches. i love this show, although it is hard to operate when you are constantly laughing. geoff

try xcsinc.com and email him through there. i'm gonna talk to him tomorrow so i' can let him know you are looking for him too. geoff

john- i'll tell you more when i get back, but imdb a movie called "self medicated" and see if you can find the office for them. he had something to do with that one (as did i). they were just screening it in vegas at a festival. maybe the festival will be able to help too. i'll be home in a day or so. call me. geoff

hey jim- just wondering, does beer count as a salad dressing? what about lite beer? would that be okay? next 'salad' is on me (wink, wink). geoff

biatch- say it ain't so! so sad! your wife gonna keep you now that you're past your prime? well, if you aren't the youngest, at least you are still the prettiest operator at the steadicam ball. next few rounds are on me, guns or drinks. happy b-day. geoff

bryan- go to your local tv station and introduce yourself. i'm betting that they use anton bauers too. then see if they will let you use a charger with a discharge module. leave them there, well labelled as yours of course, for the weekend and let the charger do it's best to refresh them. then you'll be able to tell which are in good shape and which are not. ohh yeah, check all the fuses on your batteies as well. then, if all else fails, and they are still not up to snuff, call b and h photo in new york or better yet, james lee at 16by9 in burbank, calif. and buy some new batteries. hope this helps. geoff

that is an old efp monitor. i think they were modified ikegami studio monitors. pretty sure they are not 16:9. i'll ask around l.a. on who would still know that. i may even have an old brochure for that rig, as it was my first way back when. i'm in chicago at the moment, but i'll get back to you when i get home from this job. geoff

hey guys- although this discussion has been had many a time, the question remains, "what is a fair price at different steps of the success ladder?" there is no answer. the game we play is tricky. sometimes we price ourselves too low and shoot ourselves in the foot. we either get the job because we low balled someone else, or we don't get it because we under priced ourselves and they think less of our talent to price ratio. but, then again, we sometimes lowball the rates to work with some director or dp we really want to work with. there is no ryhme or reason to the rates at certain times. the skill of negotiating, of feeling out a deal can be harder than operating many times. it too is a learned skill. in the beginning especially, it is really hard to say no to a job, any job, no matter what the rate. but learn that skill, and learn it well, because it will serve you well. here in l.a. there are a gaggle of operators who i seem to be up against for jobs on a regular basis and we have all become friends. and, we keep each other appraised of what is happening on the job front. we hate to accidentally blow a deal for each other. production will play us against each other thinking that we never talk. ask who they are talking to when they say they are in discussion with another operator. you may kow him well. and, when i do say no to a job because of a rate, i reccommend they call some of the other guys. when they realize that i was either giving them a fair deal or that they(the producer or production manager) had underestimated the prices for our services they tend to pay what is fair, wether to me or the other guy. it is hard to lose a job because you are standing firm, but from experience, the jobs that were lowballing the hardest are the ones that beat you up the hardest and take advantage of you the most. i don't really want those jobs anyways. on the other side of all this is, when a high paying job does come along, make sure you can deliver. unless you are sleeping with the producer, the d.p., the director, or all of them (and there are those that do, no names on location) you better be able to do the job to their satisfaction. mostly importantly though, set what is a fair and realistic value for your skill, your gear, and the project/market(do your homework) and negotiate with that in mind. don't be afraid to say, "no thank you." my 20 cents worth from the look of it. geoff

hey rob- we (kenji luster, rich davis, jim bartell, tom gleason and myself) had a conversatin about the power consumption question with panavision. thye were aware of the needs and evasive about a real answer. basically, it's still a prototype and they have no idea. they are trying though. they are aware of our field needs. also, the "magazine" record deck can be cabled out and be worn by the operator or a.c. or left cabled way behind if weight and or size is of major concern. they will have more answers soon. oh, and the eye piece was as good as i have seen on an hd camera. still a way to go though before it matches optical. but really a step up over the varicam i have been using. just my small observations. geoff p.s. have you been working for any of the singapore companies yet? let me know if yo are and i'll send my hellos through you, if you don't mind.

larry- i absolutely second what you said. my focus pullers and i, are, in my mind, one. without him/her, why am i there. i try to make their life easier in any way, shape or form. every one of them has a different style, a different taste, a different set of tools they prefer. but all are there to the same end. all styles, all tools are viable options if they work to achieve the shot. i ask the same question after each take, "feel good to you?" and if they say no!, i will, many times, take the heat and request another one. i also try to communicate as much as possible during rehersals and even during the takes as to what's going on in the shot. sometimes though, that is just not possible. the variables are just too many at times. my favorite a.c.'s save me time and time again when i miss a mark, an actor goes astray, or....? and i attempt to do the same for them when the situation stacks against them. a handheld monitor is the smallest of considerations, of helps, but if it works, bring it on. geoff